“L’Automne transforms filmmaking, usually an art form based on movement, into an art of immobility; an anti-cinema, for those who expect punch-ups, car chases or western stampedes; an alternative cinema, for those who realize that the apparent immobility of L’Automne is not immobility at all. The intensity of those two pairs of eyes, watching — those eyes most definitely know how to see. We can see them. We can tell, from the look in those eyes, that we are witnessing the most absorbing stage in the creation of a film — the point at which everything is still to be defined and all questions can still be asked.”

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